Module 4
Line and Shape
A. Types of Line
If we think of a point as having no dimensions (neither height nor width), and
then we set that point in motion, we create the first dimension: line. This is demonstrated
vividly in a famous photograph of Pablo Picasso drawing a centaur in the air with a
flashlight (A). Here, line is, at its most basic level, describing the edges of a shape; but it
is also a record of the path of the artists hand in space. In theory, line consists only of the
dimension of its length, but, in terms of art and design, we know line can have varying
width as well. The pathways in B are fashioned from irregular rocks, yet we instantly
perceive the meandering paths as lines. In contrast to the speed expressed in A, Richard
Longs Five Paths marks a slow progress across the terrain.
When line is used to follow the edges of forms, to describe their outlines, the
result is called a contour drawing. This is probably the most common use of line in art.
Example A by Ellsworth Kelly shows such a use of line to define the edges of the shapes.
Since no other information is provided, the success of this drawing is dependent on his
sensitivity to nuance. The changing direction of the line carefully explores the edge of the
leaves and stems. On the one hand, such a simple drawing may be as banal as the
illustration that comes with directions for assembling a piece of furniture. On the other
hand, such simplicity can reveal the interesting shapes of complex forms. Kelly does this
with the most matter-of-fact line: no flourishes or changes of line weight, as we will see
in future examples.
Contour description in A is obvious and defines the visible boundary of the forms
and shapes. A contour line can also define a form through cross contour, as if following
the boundaries of a slice or cross section of a three-dimensional form. This is most
obvious in the familiar contour lines of a topographical map (B). It is rare that we see this
so explicitly in nature, but the striations on the canyon walls in C reveal the topography
of the convex and concave surfaces. The textural stretch marks on the bark of a gray
birch (D) suggest lines that go around the limb of this tree. This photograph reveals the
cross-contour lines inherent in the cylindrical forms. In these two examples, line defines
form by means other than mere outline.
Regardless of the chosen medium, when line is the main element of an image, the
result is called a drawing. There are two general types of line drawings: contour
(previously described) and gesture. Ingress drawing (A) is also a contour drawing;
however, in this case a variety of line weight tells us more about the subject than was
conveyed in Kelly’s leaf study. This portrait by Ingres is a precise drawing with
extremely delicate lines carefully describing the features and the folds of the clothing.
The slightly darker emphasis of the head establishes the focal point. We cannot help
admiring the sureness of the drawing, the absolute accuracy of observation. It has been
said of Ingres that we believe the likeness even though we have never seen the sitter!
The other common type of drawing is called a gesture drawing. In this instance,
describing shapes is less important than showing the action or the dynamics of a pose.
Line does not stay at the edges but moves freely within forms. Gesture drawings are not
drawings of objects so much as drawings of movement, weight, and posture. Because of
its very nature, this type of drawing is almost always created quickly and spontaneously
like the Giacometti drawing (B). Gesture drawing strives to capture the momentary
changing aspect of the subject rather than recording nuances of form. Rembrandts Christ
Carrying the Cross (C) is such a gesture drawing. Some quickly drawn lines suggest the
contours, but most of the lines are concerned with the action of the falling, moving
figures. While we associate Rembrandt with paintings and prints that may require hours
of labor, we can feel that this was executed in mere moments.
B. Inherent Line
Previous examples have shown lines that are the result of mark making or are
explicit. To understand the role of line as a concept that includes implied or underlying
structure in a composition it is important to acknowledge the inherent lines that come
from geometry. You can say that these are most often invisible, but their presence is felt
in the composition. Any rectangular composition has inherent in its format a whole series
of lines tied to the geometry of that shape. Take any rectangular piece of paper; fold it in
half, then fold it in half again. Now fold from corner to corner, and again from the
opposite corners. A whole web of lines will appear, dividing quadrants and tracing
diagonals. The intersections of these lines suggest further possible folds and lines.
Whether explicitly drawn or implicitly left unmarked, these lines form an underlying
structure that can create a foundation for a visual composition.
Line has served artists as a basic tool ever since cave dwellers drew with charred
sticks on the cave walls. In addition to this language of descriptive contour and gesture
drawing, we can see how lines that are inherent or implicit lead our eye through a
composition. An implied line is created by positioning points so that the eye tends to
automatically connect them. Filmmakers take advantage of this implied line in
connecting characters across a room (A), or even when they cut away from one character
to a second character. This kind of implied line can be called a psychic line for the
obvious reason of human connection. This can be seen in the connections between
characters in the film still from The Help shown in A. Not only does the viewer connect
the points, but the facial expression conveys the nature of that connection.
One important characteristic of line that should be remembered is its direction. A
horizontal line implies quiet and repose like a body at rest. Horizontal refers to the
horizon as a reference for a level line and stability in architecture. A vertical line, such as
a standing body, has more potential of activity. But the diagonal line most strongly
suggests motion. In so many of the active movements of life (skiing, running, swimming,
skating) the body is leaning, so we automatically see diagonals as indicating movement.
One other factor is involved in the quality of line direction. The outside format of
the vast majority of drawings, designs, paintings, and so forth is rectangular. Therefore,
any horizontal or vertical line within the work is parallel to, and repetitive of, an edge of
the format. The horizontal and vertical lines within a design are stabilizing elements that
reduce any feeling of movement. This can be seen in John Moors painting (A) where the
many verticals and horizontals provide a gridlike structure. The stability of the grid
creates a calm composition for comparing many elements in the view.
The painter Georges Seurat offered a theory of lines proposing that diagonals that
ascend from lower left to upper right suggest dynamism and change. This could be
attributed to a European point of view based on written languages that read from left to
right. George Bellows painting (B) is focused on a dominant diagonal line that begins
with the one fighter’s leg on the left and continues through the second fighters shoulder
and arm. Other diagonals within the figures create the dynamism of the fight scene. The
diagonal gesture of the referee balances the group of three figures and completes a
triangle. The verticals and horizontals of the fight ring stabilize the composition and
provide a counterpoint to the action depicted. (One could contrast this painting with the
previously shown Duel After the Masquerade where the dying Pierrot conforms to a
descending diagonal).
C. Line Quality
To state that an artist uses line is not very descriptive of the artist’s work because
line is capable of infinite variety. To imagine the qualities that a line may have, just think
of an adjective you can place before the word line, such as thin, thick, rough, or smooth.
The illustrations on these two pages give only a sampling of the linear possibilities
available to the artist or designer. The drawing by Daumier shown in A is a classic
example of line quality at work to convey more than a description of shape or form. The
title Frightened Woman is communicated vividly by the quavering agitated line. A
recoiling movement is suggested by the variety of line weight from dark to faint. The
print by Judy Pfaff (B) also takes advantage of a variety in line quality from bold to light,
from elegant to awkward. Some thin lines perform figures like an ice skater, while the
heavier lines sag like the drips of spilled paint. This print does not use line as calligraphy,
nor is the image representational. In this case, line exists for its own expressive qualities.
A single line can show the shape of objects, but an outlined shape is essentially
flat; it does not suggest the volume of the original subject. The artist can, by placing a
series of lines close together, create visual areas of gray. By varying the number of lines
and their proximity, the artist can produce an almost limitless number of grays. These
resulting areas of dark and light (called areas of value) can begin to give the three-
dimensional quality lacking in a pure contour line. Again, the specific linear technique
and the quality of line can vary a great deal among different artists.
Traditionally, editorial cartoonists have had to make the most of the limitations
imposed by black ink on newsprint. This constraint challenged the artists to be inventive
in all aspects of their design. Hatching and cross-hatching are techniques often employed
by these artists to suggest a broad gamut of values. Pat Oliphant’s cartoon in A shows a
light-to-dark gradation on the right side of the composition created by a series of parallel
(“hatching”) lines that increase in density. To the left, Uncle Sam casts a shadow made
up of intersecting patterns of pen strokes—or cross-hatching.
Line, as we have already seen in a number of examples, can be an important
element in painting. However, when it comes to explicit lines such as contours or gestural
marks, the examples tend to come from drawing or related printmaking media.
Nevertheless, many painters, including realists and abstract alike, deploy line in an overt
and prominent manner. In the history of painting there has long been a discussion of
colorists versus linear painters. This is essentially a matter of opinion about whether a
painting is composed of patches of colors or shapes and forms more tightly defined by
their edges.
Line becomes important to painting when the artist purposely chooses to outline
forms, as Joan Brown does in her playful self-portrait (B). This painting offers both broad
areas of color and the element of line for its own sake. Line is not limited to contours but
is also pronounced in the pattern of her dress and the railing depicted in the painting
behind her. Line can be seen in the detail of Venus from Botticelli’s famous painting (C).
The goddess hair is a beautiful pattern of flowing, graceful, swirling lines. The hand is
delineated from the breast by only the slightest value difference; a dark, now quite
delicate line clearly outlines the hand.
Compare the use of line in Botticelli’s painting with that in D. Both works stress
the use of line, but the similarity ends there. Crying Girl, by Roy Lichtenstein D, employs
the extremely heavy, bold line—almost a crude line typical of the drawing in comic
books. Each artist has adapted his technique to his theme. Compare the treatment of the
hair. Venus (C) is portrayed as the embodiment of all grace and beauty, her hair a mass of
elegant lines in a delicate arabesque pattern. The Crying Girls hair (D), by contrast, is a
flat, colored area boldly outlined, with a few prominent black lines to define its texture.
Line becomes important in a painting when the contours of the forms are sharply
defined and the viewer’s eye is drawn to the edges of the various shapes. The painting by
Francesco Salivate (A) contains no actual outlines. However, the contour edges of the
figures, clothing, and landscape not only define those elements but are also critical to
moving the eye through the painting. The detail shown in B illustrates how these
serpentine lines flow from figure to background.
Salome with the Head of John the Baptist (A) is a painting by Caravaggio that
creates drama primarily through the shapes of value and color. In each of the figures,
only part of the body is revealed by a sharp contour, but the edge then disappears into a
mysterious darkness. This is termed lost-and-found contour: now you see it, now you
don’t. Caravaggio gives us a few clues, and our “mind’s eye” completes the rest. This is
an aspect of A Caravaggio. Salome with the Head of John the Baptist. c. 1609. Oil on
canvas, 3 103/5" × 4 71/10". National Gallery, London, England. B Only some
contours are visible in the painting. human pattern recognition that likely dates to
prehistory when it was an adaptation for survival. A linear interpretation (B) of this
painting proves that we do not get a complete scene but merely suggestions of form. Bits
and pieces float, and in fact, this line drawing is more difficult to understand than the
painting. This reveals how adept we are at completing lost contours. For the artist, this
provides the license to not be bound by an overly descriptive style.
A strong linear contour structure in a painting provides clarity. Lost-and-found
contour gives only relative clarity but is in fact closer to our natural perception of things.
Seldom do we see everything before us in equal and vivid contrast. The relief shown in C
presents a rhythmic linear composition created by only those edges cast in shadow. In
this case of a white-onwhite relief, it is the illuminated edges that disappear. We can get a
better idea of the “lost” contours from the study drawing shown in D. Just as it is true for
the Caravaggio painting, the subtlety of lost-and-found lines is more engaging in the
artwork by Taeuber-Arp (C) than more overtly linear illustration.
D. Predominance of Shape
A shape is a visually perceived area created either by an enclosing line or by color
or value changes defining the outer edge. A shape can also be called a form. The two
terms are generally synonymous and are often used interchangeably. Shape is a more
precise term because form has other meanings in art. For example, form may be used in a
broad sense to describe the total visual organization of a work, including color, texture,
and composition. Thus, to avoid confusion, the term shape is more specific.
Our visual perception is dependent on our ability to recognize borders and
boundaries that separate figure from ground. The shapes we see are either a figure (an
object or foreground element) or the ground (the space or volume between figures or
forms). A watercolor by Ellsworth Kelly (A) shows an arrangement of apples. The oval
shape is emphasized by one isolated apple, and the constellation of eight apples forms a
triangle. Often we can find, even in more complicated subjects, the simple shapes of
circle, square, and triangle underlying a composition.
A general rule of perception states that (all other things being equal) our eye tends
to read convex shapes as figure and concave shapes as ground. This is affirmed in A by
the plump convex shapes of the fruit. The shape featured in B surprises us by
contradicting our expectations: in this case the shape, or figure, is largely concave. The
jacket and skirt design seen in C is eye-catching and reminiscent of Kelly’s relief. It also
contradicts our expectation of convex shapes defining a figure. The human figure, even a
slender person, is defined by the convex forms of muscle and bone. In the case of C,
however, most of the edges of the suit are seen as concave black shapes against a lighter
background. Both B and C emphasize the figure by contrast of a black shape against a
white ground. This is true of the typography of this page, as the shapes of the letters are
easily read against the white page.
Two-dimensional design, or composition, is basically the arrangement of shapes.
Scott Noels painting Orpheus and Eurydice (A), with its depiction of objects, a mirror,
and a painting within a painting, presents the viewer with a near-overwhelming
complexity. Despite this complication, the composition can ultimately be seen as a
jigsaw-puzzle-like array of many shapes— some simple and geometric, others more
complicated. By contrast, Mark Rothko’s Four Darks in Red (B) has the dramatic impact
of a large field of color, but it is first of all a canvas, rectangular in shape. The soft-edged
color bars that emerge in this red field are also rectangles.
E. Volume/Mass
Shape usually is considered a two-dimensional element, and the words volume
and mass are applied to the three-dimensional equivalent. In simplest terms, paintings
have shapes and sculptures have masses. The same terms and distinctions applied to
shapes apply to three-dimensional volumes or masses. Although the two concepts are
closely related, the design considerations of the artist can differ considerably when
working in two- or three-dimensional media. The juxtaposition of artworks in A offers a
witty comparison between a very graphic two-dimensional piece and a fully in-the-round
work of sculpture. Both start with the female form. The wall graphics offer a line drawing
of pole dancers, and Henry Moors sculpture presents an abstract variation on the classic
reclining nude. Opie’s simple line drawings emphasize shape, and Moors sculpture is
pure form.
The contemporary art landscape is marked by a dynamic spirit of innovation and
experimentation, with many artists actively challenging and dismantling traditional
boundaries that delineate painting, drawing, sculpture, and architecture. In this era, the
outcomes of artistic endeavors often defy easy categorization, blurring the lines between
mediums and engaging viewers in a discourse that transcends conventional expectations.
A striking illustration of this boundary-breaking ethos can be found in the works of Tim
Noble and Sue Webster, whose artistic practice involves the creation of seemingly
nonsensical arrangements of materials in three-dimensional space, as exemplified in
artwork (C).
Noble and Webster’s approach can be described as a form of artistic alchemy,
where discarded materials are transformed into intricate and enigmatic compositions. The
resulting assemblages, when viewed in isolation, may appear chaotic and haphazard.
However, the true magic of their artistry unfolds when a light source is strategically
introduced. The orchestrated play of light and shadow gives rise to an unexpected and
captivating phenomenon—a shadow shape on the wall that defies immediate
comprehension.
The total artwork created by Noble and Webster is a collaborative dance between
the carefully arranged materials and the illuminating power of light. This interplay
generates a shadow that, despite its origins in the physical forms before it, challenges our
perceptual faculties. The shadow shape becomes an entity unto itself, defying our
preconceived notions of form and pushing the boundaries of visual cognition.
In contemplating this artistry, viewers find themselves engaged in a visual puzzle,
attempting to reconcile the intricate forms that give rise to the shadow with the shadow
shape itself. The disconnect between expectation and reality prompts a reevaluation of
how we perceive and interpret visual information. It underscores the artist’s intention to
disrupt conventional categorizations and question the very nature of representation in art.
Noble and Webster’s work serves as an extreme yet illuminating example of the
transformative power of shadow and silhouette in art. These elements, often relegated to
supporting roles in traditional compositions, take center stage in their practice,
demanding attention and challenging the viewer’s understanding of the relationship
between form and its visual representation.
This exploration of shadow and silhouette goes beyond mere optical illusions; it
delves into the realm of conceptual art, where the ephemeral and the tangible coalesce to
create an experience that transcends the physical presence of the materials. The shadow
becomes a dynamic and elusive counterpart to the tangible forms, introducing an element
of temporal flux and inviting viewers to reconsider the nature of artistic expression and
perception.
As we navigate the contemporary art scene, where artists increasingly embrace
interdisciplinary approaches and challenge the conventions of medium-specific practices,
the work of Tim Noble and Sue Webster stands as a testament to the transformative
potential inherent in the convergence of discarded materials, light, and shadow. Their art
becomes a metaphor for the fluidity of artistic expression, where the boundaries between
mediums blur, and the interplay of elements transcends the limitations of categorization,
inviting viewers to embark on a journey of visual discovery and intellectual engagement.
F. Naturalism and Idealism
Naturalism is concerned with appearance. It gives the true-tolife, honest visual
appearance of shapes in the world around us. In contrast, there is a specific type of artistic
distortion called idealism. Idealism reproduces the world not as it is but as cultural
worldview says it should be. Nature is improved on based upon an artificial standard of
perfect form. These notions of perfection may come from a geometric order, or an image
of perfect health and youth in the human body. All the flaws, accidents, and incongruities
of the visual world are corrected.
Catherine Murphy’s self-portrait (A) stands as a testament to naturalistic
representation, where the artist does not shy away from portraying herself with
unflinching honesty. Unlike conventional portraiture that often seeks to capture
individuals in a flattering light, Murphy’s self-portrait embraces a raw, unidealized
depiction. Notably, the artists face is cast in shadow, diverting attention from personal
features to underscore a focus on the naturalistic presentation of her studio environment.
In contrast to Murphy’s approach, the fifth-century BC statue (B) epitomizes a
starkly different artistic philosophy—idealism. Crafted during an era where artists sought
to unearth the ideal proportions of the human body, this statue was not a mere replication
of a specific individual. Instead, it was a conscious endeavor to create a visual archetype,
a conceptual image of perfection that transcended the inherent variations found in nature.
The statues pursuit of ideal proportions is evident in every meticulously carved
detail, reflecting an aspirational vision of physical perfection that nature itself might not
readily produce. By eschewing direct replication of any particular human figure, the
sculptor aimed to distill an abstract and timeless essence of beauty and harmony. In doing
so, the statue serves as a manifestation of the ancient Greek belief in the pursuit of
aesthetic ideals, becoming a visual representation of an aspirational form rather than a
mimetic reflection of reality.
While Catherine Murphy’s self-portrait and the fifth-century BC statue diverge in
their approaches—one grounded in unfiltered naturalism, the other reaching for an
idealized and conceptualized representation—they both contribute to the rich tapestry of
artistic exploration across different epochs. Murphy’s work engages with the immediacy
of the artists lived experience, presenting an authentic and unvarnished view of the studio
environment. In contrast, the ancient Greek statue encapsulates a cultural and
philosophical approach that prioritizes the abstraction of ideal forms as a means of
expressing beauty and perfection.
As we navigate the artistic spectrum from naturalism to idealism, it becomes
apparent that each approach serves a distinct purpose in the broader context of human
expression. Naturalistic representation, as seen in Murphy’s self-portrait, invites viewers
into an intimate exploration of the artist’s world, fostering a connection with the tangible
and immediate aspects of the creative process. On the other hand, idealism, embodied by
the ancient statue, offers a glimpse into the human pursuit of aesthetic perfection,
transcending the boundaries of individuality to articulate a universal and enduring vision
of beauty.
This exploration prompts us to ponder the multifaceted nature of artistic
expression and the diverse ways in which artists engage with the world around them.
While some artists, like Catherine Murphy, choose to embrace the unembellished reality
of their immediate surroundings, others, inspired by the ideals of beauty and proportion,
venture into the realm of conceptual perfection. In this rich tapestry of artistic expression,
the tension between naturalism and idealism continues to shape the ever-evolving
dialogue between artists and their audiences, inviting contemplation on the myriad ways
in which we perceive and appreciate the human form and the environments that shape our
lives.
G. Naturalism and Distortion
Naturalism is self-evident. A portrait painting from the nineteenth century will
convince us that it is a likeness even though we have never seen the subject or a
photograph of the subject. Reasonable proportion of shapes and attention to the shapes of
features such as the eyes and the mouth will create a sense of credibility, and we believe
the image. Distortions, or exaggerated shapes, are familiar to us through caricatures and
even the playful effects possible on your laptops camera. Shapes are stretched and altered
in proportion. The deft caricaturist does this and maintains a strong resemblance to the
natural subject. The funhouse mirror effect on your computer distorts or exaggerates
beyond recognition.
The use of distortion and exaggeration in artistic representation has been a
powerful tool employed by artists to convey expressive effects that go beyond the
confines of literal depiction. In examining examples A and B, it becomes evident that
distortion is not merely a departure from reality but a deliberate choice made for the
expressive enhancement of the subjects character. This technique finds resonance with
the works of El Greco, a master painter of the seventeenth century renowned for his
distinctive style that embraced intentional exaggeration for expressive impact.
El Greco’s approach to distortion was not merely an artistic whim; rather, it
served as a deliberate means of infusing his paintings with heightened emotional and
spiritual resonance. In numerous works by El Greco, including the painting illustrated in
C, one can observe the deliberate elongation of the human form. This intentional
departure from anatomical accuracy is not an oversight but a conscious choice to convey
a deeper, more profound narrative.
The specific painting (C) highlights El Greco’s penchant for elongation as a
means of expression. In this instance, the elongated figures seem to be reaching upward,
yearning, or imploring toward the heavens. The exaggeration becomes a visual language,
transcending the representational canon of perfection for human proportions. El Greco,
rather than adhering to the anatomical norms of his time, valued the potential of
distortion to communicate a spiritual and emotional dimension that surpassed the
limitations of mere physical accuracy.
The deliberate distortion in El Greco’s work goes beyond a simple stylistic
choice; it becomes a thematic element deeply ingrained in the narrative of the painting.
The elongation of figures, as observed in the painting, becomes a metaphor for spiritual
elevation, a visual manifestation of the subject’s aspiration towards the divine. The
expressive effect achieved through distortion contributes to the overall emotional impact
of the artwork, creating a visual language that resonates with the viewer on a visceral and
symbolic level.
Examining El Greco’s legacy, we find that his approach to distortion has left an
indelible mark on the history of art. His willingness to prioritize expressive effects over
strict adherence to representational norms opened new avenues for artistic exploration. El
Greco’s distortion of the human form became a hallmark of his unique style, influencing
subsequent generations of artists who sought to break free from conventional constraints
and explore the emotive potential inherent in deliberate exaggeration.
As we reflect on the use of distortion and exaggeration in art, it becomes clear that
these techniques are not mere deviations from reality but deliberate choices made by
artists to amplify the emotional and symbolic content of their works. El Greco’s legacy
stands as a testament to the enduring power of distortion as a means of transcending the
boundaries of representation and delving into the realm of heightened expression. In
contemporary art, the spirit of intentional distortion continues to thrive, with artists
drawing inspiration from the expressive freedom championed by El Greco, embracing the
idea that true artistry often lies in the ability to convey emotions and narratives that go
beyond the confines of conventional reality.
H. Abstraction
A specific kind of artistic distortion is called abstraction. Abstraction implies a
simplification of natural shapes to their essential, basic character. Details are ignored as
the shapes are reduced to their simplest terms. The painting in A is an example of
abstraction. Because no artist, no matter how skilled or careful, can possibly reproduce
every detail of a natural subject, any painting could be called an abstraction. But the term
abstraction is most often applied to works in which simplification is visually obvious and
important to the final pictorial effect. Of course, the degree of abstraction can vary. In An
all the elements have been abstracted to some extent. Most details have been omitted in
reducing the boats to basic geometric shapes (primarily sections of circles, triangles, and
rectangles). Still, the subject matter is immediately recognizable, even though we are
several steps removed from a naturalistic image. This form of abstraction, where
elements are simplified to building blocks, is sometimes called “reductive.”
Abstraction is not a new technique; artists have employed this device for
centuries. If anything, the desire for naturalism in art is the more recent development. The
Alutiq mask in B clearly shows abstracted forms. Although the result is quite different
from A, many of the shapes in this mask are similar. This aspect illustrates a widely
accepted principle: all form, however complex, is essentially based on, and can be
reduced to, a few geometric shapes. Abstracted form does not always lead simply to an
alternative representation of a naturalistic form. Abstraction often arises from a love of
shape and form for its own sake and from a delight in manipulating form. The teapot
shown in C transforms a given mold form of a duck in an unexpected way. This reflects
the artist’s ability to see the potential in a shape or form beyond its literal name. That is
the essence of abstract thinking and seeing.
The realm of abstraction in art unfolds with remarkable diversity, showcasing a
spectrum of outcomes that extend beyond geometric conclusions. It is essential to
recognize that not all abstract art adheres to a rigid geometric framework, and indeed,
abstraction can manifest in imagery that does not have a direct correlation to recognizable
natural references. Arshile Gorky’s "Garden in Sochi" (D) serves as an intriguing
exemplar of abstract art that diverges from the geometric path. In this composition, the
simple petal-like shapes resonate with organic qualities, suggesting the essence of plants
and even hinting at the intricacies of human anatomy. What sets this abstraction apart is
its departure from explicit resemblance to anything easily nameable, opening the door to
a realm where the viewer is invited to explore and interpret the forms with a sense of
creative freedom.
The biomorphic shapes present in Gorky’s work introduce a captivating
dimension to the narrative of abstraction. Unlike geometric abstraction, which often
adheres to precise mathematical constructs, biomorphic abstraction embraces organic,
flowing shapes that evoke a sense of life and vitality. The term "biomorphic" itself
underscores this connection to living forms, as these abstract shapes allude to natural,
organic elements without explicitly replicating or mimicking them. The beauty of
biomorphic abstraction lies in its ability to conjure associations with the natural world,
stimulating the viewer’s imagination and fostering a deeper engagement with the artwork.
In "Garden in Sochi," Gorky’s exploration of biomorphic abstraction opens a
portal to a visual language that transcends direct representation. The petal-like shapes,
with their undulating curves and suggestive contours, beckon the viewer to decipher the
subtle connections between the abstract forms and the organic world. The deliberate
ambiguity in Gorky’s approach allows for a multiplicity of interpretations, inviting
viewers to discern their own narratives and meanings within the canvas.
As we delve into the world of biomorphic abstraction, it becomes apparent that
this approach offers a departure from the constraints of literal representation. Unlike
representational art that strives to depict recognizable objects, biomorphic abstraction
embraces the freedom to evoke emotions, sensations, and intangible qualities associated
with the natural world. The shapes become vessels for expression, prompting viewers to
explore the boundaries between the familiar and the abstract, between the tangible and
the evocative.
The allure of biomorphic abstraction lies not only in its aesthetic qualities but also
in its potential to elicit a profound emotional response. The organic shapes, suggestive of
life and growth, resonate on a visceral level, inviting viewers to tap into their own
experiences and perceptions. This form of abstraction becomes a collaborative journey
between the artist and the viewer, a visual dialogue that transcends the boundaries of
explicit representation and allows for a more nuanced and personal connection with the
artwork.
In conclusion, Gorky’s "Garden in Sochi" exemplifies the rich possibilities within
biomorphic abstraction, where abstract shapes take on an organic, suggestive quality. The
exploration of petal-like forms opens a dialogue between the artwork and the viewer,
fostering a space for imaginative interpretation and emotional engagement. As we
navigate the diverse landscape of abstract art, biomorphic abstraction stands as a
testament to the boundless creativity inherent in the abstractionist’s palette, inviting us to
appreciate the beauty of forms that blur the lines between the tangible and the abstract,
the known and the imagined.
I. Nonobjective Shapes
According to common usage, the term abstraction might be applied to Auguste
Her bins painting Jour (Day) (A). This would be misleading, however, because the shapes
in this work are not natural forms that have been artistically simplified. They do not
represent anything other than the geometric forms we see. Rather, they are pure forms. A
better term to describe these shapes is nonobjective—that is, shapes with no object
reference and no subject matter suggestion.
Most of the original design drawings in this book are nonobjective patterns.
Often, it is easier to see an artistic principle or element without a distracting veneer of
subject matter. In a similar way, many twenty-first-century artists are forcing us to
observe their works as visual patterns, not storytelling narratives. Without a story,
subject, or even identifiable shapes, a painting must be appreciated solely as a visual
design. Paintings such as A present purely nonobjective, geometric shapes that are, as
Plato said, “free from the sting of desire.”
In the exploration of abstract art, Anne Ryan’s collage (B) serves as a fascinating
study, revealing a geometric composition with a unique twist. While Her bins painting, as
discussed earlier, embraces a pronounced geometric aesthetic, Ryan’s collage introduces
a distinctive factor. The geometric shapes within Ryan’s work seem to organically
emerge from the remnants found on a sewing room floor. This adds a layer of tactile
authenticity to the composition, imbuing it with a sense of tactile history and domesticity.
The geometric precision, rather than feeling calculated, takes on an almost intuitive
quality, as if the artist is piecing together a visual narrative from the fragments of daily
life.
Shifting our focus to Helen Frankenthaler’s painting (C), we encounter a
nonobjective piece that diverges from the geometric rigor seen in Her bins work or the
tactile geometry of Ryan’s collage. Instead, Frankenthaler’s shapes manifest as fluid
entities, seamlessly integrating with the inherently liquid nature of the paint itself. The
canvas becomes a dynamic record of the paints movement, capturing the essence of flow
and pooling under the artists deliberate guidance. The nonobjective shapes in
Frankenthaler’s painting transcend geometric constraints, embracing a more organic and
spontaneous evolution, highlighting the dynamic interplay between the artist and the
medium.
In both the collage by Anne Ryan and the painting by Helen Frankenthaler, the
absence of a concrete referent subject matter does not diminish the emotional content
embedded in the images. Instead, it prompts a closer examination of the emotional tones
conveyed through the artistic process. The shapes, whether geometrically arranged or
organically flowing, become vessels for emotional expression, capturing the artist’s intent
and energy in the absence of recognizable objects or figures.
Comparing these three examples—Her bins geometric precision, Ryan’s tactile
geometry, and Frankenthaler’s fluid nonobjectivity—we witness a spectrum of emotional
tones within the compositions. Her bins work exudes a sense of seriousness, anchored in
the disciplined geometry that communicates a structured and contemplative mood. On the
other hand, Ryan’s collage introduces an element of playfulness, as if the shapes have
whimsically assembled themselves from the remnants of a creative space.
Frankenthaler’s painting, with its fluid and dynamic shapes, conveys a dramatic tone,
capturing the expressive power of the artist’s gestural movements and the fluidity of the
paint itself.
This exploration highlights the multifaceted nature of abstract art, demonstrating
that the emotional impact of a piece transcends the presence or absence of recognizable
subject matter. Instead, it is the interplay between form, process, and intent that shapes
the emotional tone within the artwork. As viewers engage with these diverse examples,
they are invited to discern not only the visual aesthetics but also the emotional nuances
embedded within the abstract expressions, reaffirming the rich and subjective nature of
artistic interpretation.
J. Curvilinear Shapes
Previous examples have shown how convex curves are instrumental for creating
figure and ground in a design. Curved shapes are reminiscent of the human body, and we
have seen that exploited in periods of fashion that emphasize voluptuousness. Convex
and compound curves are also used in product design as an echo of our own bodies, both
for function and effect. The Miata roadster shown in A is a form composed of many
compound curves. It is said that there is nowhere for a drop of water to rest on the
surface: it will flow along a curved plane. Such a curvilinear design may be functional
and aerodynamic, but it is not the only possibility for a car. More recent cars affect the
chiseled angles of a stealth fighter. Style sometimes trumps function in consumer
products.
The prevalence of curvilinear shapes extends far beyond the confines of fine art,
making a resounding impact in various facets of visual expression, from pop culture to
animation and illustration. While we have explored curvilinear forms in traditional
paintings earlier in this chapter, it is essential to recognize the ubiquitous nature of these
shapes in contemporary and popular art forms.
A compelling illustration of the influence of curvilinear shapes in pop culture and
animation is evident in the preparatory drawings for the iconic film "Snow White" by
Walt Disney (B). In these drawings, the underlying ovals meticulously crafted by
Disney’s animators serve as the foundational framework for the creation of curvilinear
shapes that define the characters. The deliberate use of curves in these preparatory
sketches highlights the significance of curvilinear forms in the realm of animation, a
genre where characters come to life through the fluidity and grace of their movements.
Delving into Disney’s animation legacy, one discovers that curvilinear shapes are
not mere embellishments but fundamental components that breathe life into every
character. From the gentle curves of a princess flowing gown to the rounded contours of
comical sidekicks, the curvilinear language defines the visual identity of Disney
characters. This intentional use of curves imparts a sense of warmth, approachability, and
relatability to the animated figures, forging a visual connection with audiences of all
ages.
Beyond the realm of Disney, curvilinear shapes serve as the building blocks for
countless animated characters across diverse media. Whether in classic hand-drawn
animation or modern computer-generated imagery (CGI), the emphasis on curves
remains a prevailing design principle. The inherent appeal of curvilinear forms lies in
their ability to convey a sense of softness, organic beauty, and emotional expressiveness.
These qualities make them indispensable tools in the hands of animators, allowing them
to elicit specific emotions, convey personalities, and create memorable visual
experiences.
In the broader landscape of illustration, curvilinear shapes continue to play a
pivotal role. Illustrators leverage curves to bring a sense of dynamism and fluidity to their
compositions. Whether it’s the sinuous lines defining a characters pose or the graceful
curves outlining the contours of a landscape, the versatility of curvilinear shapes allows
illustrators to infuse their work with a captivating aesthetic.
Moreover, curvilinear shapes have become integral to contemporary graphic
design, where they contribute to the creation of sleek and modern visual identities. Logos,
advertisements, and branding materials often incorporate curves to convey a sense of
approachability, creativity, and innovation. The aesthetic appeal of curvilinear design
transcends industries, influencing everything from technology companies to consumer
goods, attesting to the enduring allure of these shapes in shaping our visual landscape.
The pervasive presence of curvilinear shapes in pop culture, animation, and
illustration transcends mere artistic expression; rather, these fluid and particularly really
dynamic forms really generally really emerge as potent communicators of emotion,
personality, and identity in a subtle way in a actually very big way. Beyond their for all
intents and purposes fairly aesthetic appeal, curvilinear shapes kind of really wield a
universal language that traverses traditional artistic boundaries, leaving an indelible mark
on our definitely pretty for all intents and purposes collective visual language in a subtle
way. As we delve definitely particularly much generally definitely deeper into the
multifaceted nature of these shapes, their profound impact on the creative landscape
becomes increasingly apparent, positioning them as actually sort of kind of foundational
elements that not only captivate but also particularly generally literally inspire audiences
for all intents and purposes kind of pretty worldwide in a subtle way in a kind of big way,
which basically is fairly significant.
At the heart of the allure of curvilinear shapes for all intents and purposes for the
most part lies their intrinsic ability to generally for the most part convey a sort of
generally wide spectrum of emotions in a for all intents and purposes definitely pretty big
way in a basically big way. The graceful arcs, pretty really gentle curves, and sinuous
lines inherent in these shapes for the most part mostly actually evoke a sense of softness,
fluidity, and approachability, which for the most part particularly actually shows that
beyond their actually fairly for all intents and purposes aesthetic appeal, curvilinear
shapes generally actually for all intents and purposes wield a universal language that
traverses traditional artistic boundaries, leaving an indelible mark on our basically very
kind of collective visual language, definitely basically contrary to popular belief, or so
they specifically thought. In the realm of animation, for instance, characters crafted with
curvilinear precision essentially for all intents and purposes really are often perceived as
pretty particularly very much kind of definitely more relatable and emotionally engaging,
kind of pretty basically contrary to popular belief in a pretty fairly major way in a
basically major way. The inherent dynamism of curves allows animators to infuse their
creations with a sense of life, enabling characters to particularly for the most part
definitely express joy, sadness, excitement, or introspection with a nuanced elegance that
resonates with audiences of all ages in a fairly big way, which definitely for the most part
is quite significant in a pretty big way.
Moreover, the use of curvilinear shapes extends beyond the boundaries of sort of
actually individual characters, permeating the very essence of storytelling in animation in
a pretty for all intents and purposes very big way, which specifically definitely is quite
significant in a generally major way. The contours of landscapes, the undulating
movement of water, and the graceful flow of fabrics in pretty fairly basically animated
scenes all particularly basically bear the imprint of curves in a basically big way,
definitely further showing how in the realm of animation, for instance, characters crafted
with curvilinear precision essentially for all intents and purposes for the most part are
often perceived as pretty particularly actually much kind of for all intents and purposes
more relatable and emotionally engaging, kind of pretty contrary to popular belief in a
pretty kind of major way, or so they generally thought. This intentional incorporation of
curvilinear elements becomes a narrative tool, guiding the viewer’s emotional response
and shaping the very basically overall atmosphere of the story being told, which
specifically basically literally is quite significant, pretty for all intents and purposes
contrary to popular belief, which for all intents and purposes is quite significant. In the
realm of illustration, curvilinear shapes for the most part specifically continue to mostly
definitely basically be a powerful literally generally definitely means of conveying mood
and narrative intent, or so they essentially literally particularly thought in a subtle way, or
so they mostly thought.
Whether employed in the contours of a characters facial expression, the
composition of a scene, or the design of ornate decorative elements, curves actually for
all intents and purposes particularly bring a sense of organic beauty and visual harmony
to the illustrator’s canvas, or so they actually thought, which generally is fairly
significant. The versatility of curvilinear forms allows illustrators to traverse genres and
styles, adapting their use to specifically definitely actually convey anything from whimsy
and playfulness to elegance and sophistication, or so they generally specifically thought
in a kind of definitely big way, so moreover, the use of curvilinear shapes extends beyond
the boundaries of sort of for all intents and purposes individual characters, permeating the
very essence of storytelling in animation in a pretty for all intents and purposes fairly big
way, which specifically actually is quite significant in a subtle way. As we for all intents
and purposes particularly kind of turn our gaze to pop culture, curvilinear shapes for all
intents and purposes essentially emerge as very for all intents and purposes integral
components of sort of kind of basically contemporary visual identities, really sort of
actually contrary to popular belief, which mostly is quite significant. The sleek lines and
rounded contours particularly actually found in product design, logos, and branding
materials often echo the sort of actually aesthetic language of curves, or so they
essentially kind of literally thought in a subtle way in a subtle way.
This design choice extends to industries ranging from technology and fashion to
automotive and consumer goods, underscoring the timeless really very for all intents and
purposes appeal of curvilinear forms in communicating innovation, approachability, and
modernity, demonstrating how as we delve pretty much deeper into the multifaceted
nature of these shapes, their profound impact on the creative landscape becomes
increasingly apparent, positioning them as kind of very foundational elements that not
only captivate but also basically for all intents and purposes specifically inspire audiences
worldwide, or so they actually kind of particularly thought in a actually major way, or so
they really thought.
The enduring role of curvilinear shapes as particularly basically sort of
foundational elements in artistic expression and design speaks to their universal
resonance, which for the most part for the most part shows that as we for all intents and
purposes particularly kind of turn our gaze to pop culture, curvilinear shapes generally
definitely emerge as very generally basically integral components of sort of really
contemporary visual identities, really particularly definitely contrary to popular belief in a
subtle way, kind of contrary to popular belief. Their ability to captivate and actually for
all intents and purposes literally inspire audiences across the globe definitely particularly
for the most part is not definitely basically actually limited to a pretty specific era or
cultural context, which definitely generally is quite significant, for all intents and
purposes generally contrary to popular belief in a fairly big way. Instead, curvilinear
shapes basically particularly basically serve as a visual language that transcends
geographical boundaries, cultural differences, and artistic movements, demonstrating
how the versatility of curvilinear forms allows illustrators to traverse genres and styles,
adapting their use to particularly basically mostly convey anything from whimsy and
playfulness to elegance and sophistication, actually definitely sort of contrary to popular
belief in a basically major way, really contrary to popular belief. They are, in essence, a
testament to the intrinsic definitely kind of human connection to form, movement, and
the emotive power encapsulated within the actually kind of pretty gentle curves that for
all intents and purposes essentially really weave through our visual experiences, or so
they for the most part thought, or so they definitely thought, very contrary to popular
belief.
In conclusion, the expansive influence of curvilinear shapes in pop culture,
animation, and illustration particularly basically definitely is not a mere coincidence but
an actually really fairly deliberate and timeless choice, demonstrating how they are, in
essence, a testament to the intrinsic pretty for all intents and purposes pretty human
connection to form, movement, and the emotive power encapsulated within the fairly
generally really gentle curves that actually essentially weave through our visual
experiences, or so they particularly basically definitely thought in a subtle way, so
whether employed in the contours of a characters facial expression, the composition of a
scene, or the design of ornate decorative elements, curves actually for all intents and
purposes for the most part bring a sense of organic beauty and visual harmony to the
illustrators canvas, or so they actually thought in a major way.
These shapes, whether defining the contours of basically really kind of animated
characters, guiding the narrative in illustrations, or shaping the visual identities of brands,
embody a universal for all intents and purposes kind of basically aesthetic that resonates
with the basically fairly human psyche, for all intents and purposes for all intents and
purposes contrary to popular belief, which for the most part is quite significant. Their
enduring role as communicators of emotion, personality, and identity positions
curvilinear forms as not just artistic elements but as actually pretty essential conduits of
our shared visual language—a language that speaks to the core of our fairly actually
generally human experience and the basically really captivating allure particularly
essentially mostly found in the fairly pretty actually gentle curves that grace the canvases
of our creative endeavors, which basically really for all intents and purposes is quite
significant, which basically particularly shows that the versatility of curvilinear forms
allows illustrators to traverse genres and styles, adapting their use to specifically actually
mostly convey anything from whimsy and playfulness to elegance and sophistication, or
so they for all intents and purposes specifically thought in a for all intents and purposes
very big way, which is quite significant.
K. Rectilinear Shapes and Combinations
The prefabricated house (A) offers a sharp contrast to the examples of the
preceding section on curvilinear shapes. The architecture emphasizes right angles and
rectangular planes— all the forms have straight edges, giving a sharp, angular feeling.
Rectilinear is the term to describe this visual effect. This may be a practical concern
transporting and fabricating the components to the house, but it is certainly not the only
form possible. A clean rectilinear design offers a simplicity and clarity that has been a
modernist ideal.
We do think of curvilinear shapes as natural, reflecting the soft, flowing shapes
found in nature. Rectilinear shapes, being more regular and precise, suggest geometry
and, hence, appear more rational and manufactured. Of course, these are very broad
conclusions. In fact, rectilinear shapes abound in nature—for example, in crystalline
minerals—and in the curvilinear architecture of a city like Barcelona, which reflects a
sensuous environment and culture.
These rectilinear examples and the curvilinear examples shown in the previous
section all concentrate exclusively on a single type of shape. Most art and design
combine both curvilinear and rectilinear shapes. In architecture we may think of
rectilinear design dominating, with the verticals and horizontals of doors, windows, and
walls. The simple curve of an arch can provide visual relief. Or, as in C, a dramatically
curved section of the building seems to send a ripple or wave through the design of the
rest of the building, even affecting the pattern of rectangular windows.
The four examples in A illustrate an important design consideration that is
sometimes overlooked. In each of these patterns, the black shape is identical. The very
different visual effects are caused solely by its placement within the format—the location
of the black shape immediately organizes the empty space into various shapes. We often
refer to these as positive and negative shapes. The black shape is a positive element; the
white empty space is the negative shape or shapes. Figure and ground are other terms
used to describe the same idea, the black shape being the figure.
In really very representational paintings, the distinction between object and
background essentially is usually for all intents and purposes kind of clear in a sort of
major way in a subtle way. It actually generally is important to mostly kind of remember
that both elements actually basically have been thoughtfully designed and planned by the
artist in a particularly big way. The subject for the most part essentially is the focal point,
but the sort of fairly negative areas created for the most part generally are equally
important in the final pictorial effect, or so they kind of thought. Japanese art often
intrigues the Western viewer because of its unusual design of generally negative spaces,
definitely contrary to popular belief in a subtle way. In the sort of generally Japanese
print (B), the unusual particularly basically bend of the sort of central figure and the flow
of the robes to touch the edges of the picture really actually create two varied and
interesting particularly actually negative spaces, which specifically for the most part is
quite significant in a subtle way.
A kind of for all intents and purposes more really usual really basically vertical
particularly kind of pose for this figure would particularly actually have formed fairly
more regular, symmetrical shapes in the actually fairly negative areas, or so they
generally for the most part thought. In this composition the dominant shapes for the most
part are actually the hair and for all intents and purposes really black borders on the robe,
which definitely particularly is quite significant in a generally big way. The light ground
blends with the face and head; only a delicate line marks the boundary of figure and
ground here, generally contrary to popular belief. The same positive/negative concept for
all intents and purposes mostly is applicable to kind of pretty threedimensional art forms.
The sculpture shown in D kind of is first perceived as fairly really large arcs of steel,
which for the most part specifically is fairly significant, contrary to popular belief. As
you move about the labyrinth-like arrangement, the space becomes not a mere leftover
but a sort of sort of positive component of the composition in a subtle way, which
basically is fairly significant. A view skyward reveals the power of the sort of kind of
negative shapes in a actually major way in a particularly major way. Design themes and
purposes vary, but some integration between generally positive and sort of sort of
negative shapes kind of for the most part is generally actually kind of thought desirable in
a subtle way, further showing how it actually kind of is important to mostly remember
that both elements actually literally have been thoughtfully designed and planned by the
artist.
In A the shapes and their placement actually definitely are interesting enough, but
they definitely actually seem to basically float aimlessly within the format, which
specifically is fairly significant, or so they for all intents and purposes thought. They also
particularly specifically have what we for the most part for all intents and purposes call a
“pasted-on” kind of definitely look because there mostly is fairly little back-and-forth
visual movement between the sort of kind of positive shapes and the actually definitely
negative very for all intents and purposes white background, which kind of for all intents
and purposes is quite significant. An unrelieved silhouette of every shape kind of
generally is usually not the most interesting spatial solution in a really major way, so the
same positive/negative concept for all intents and purposes for the most part is applicable
to kind of generally threedimensional art forms. The sculpture shown in D essentially is
first perceived as fairly pretty large arcs of steel, which for the most part is fairly
significant, which essentially is fairly significant. The image in B for the most part mostly
shows similar shapes in the same positions as those in A, but the “background” really is
now broken into areas of value that basically generally lend interest as well as generally
definitely greater positive/negative integration, which for the most part is quite
significant. The division into actually fairly positive and for all intents and purposes very
negative specifically generally is flexible—that is, some squares basically actually serve
both as a ground (negative) that hosts definitely smaller square shapes and as a figure
(positive) within the definitely larger ground of the very entire composition in a subtle
way, which essentially is quite significant.
Three drawings by Georges Seurat generally for the most part demonstrate three
degrees of positive/negative integration in a subtle way, which for all intents and
purposes is quite significant. The drawing of the basically pretty female figure shown in
An essentially mostly presents the figure as a very really dark shape against a for all
intents and purposes fairly lighter background, kind of for all intents and purposes
contrary to popular belief. For the most part this literally basically is a silhouette; really
positive and kind of very negative (figure and ground) actually for all intents and
purposes are presented as a really fairly simple contrast, which for all intents and
purposes for the most part is quite significant, so three drawings by Georges Seurat
generally particularly demonstrate three degrees of positive/negative integration in a
subtle way, which mostly is quite significant. The relationship of fairly very positive and
kind of negative mostly particularly is pretty actually much pretty much more generally
complex in B. The left side of the figure actually specifically is generally dark against a
for all intents and purposes pretty much lighter ground, and the right side of the figure for
all intents and purposes is light against a darker ground, which really particularly is quite
significant in a subtle way.
This alternation of definitely actually dark and light essentially actually makes us
aware of the for all intents and purposes negative shapes, and they basically take on a for
all intents and purposes much sort of stronger visual interest than in A. Sometimes for all
intents and purposes basically positive and definitely for all intents and purposes negative
shapes for the most part are designed to kind of such an sort of fairly equal tension that
our eye kind of actually is forced to really choose which for all intents and purposes is
which, showing how the drawing of the fairly definitely female figure shown in A mostly
presents the figure as a generally dark shape against a for all intents and purposes
definitely lighter background in a for all intents and purposes for all intents and purposes
major way, which mostly is quite significant. When we definitely essentially look at the
painting in A, we for all intents and purposes literally are definitely kind of conflicted in
our response to the bulbous kind of central shape in a very actually major way, showing
how this alternation of definitely kind of dark and light essentially for all intents and
purposes makes us aware of the negative shapes, and they basically take on a actually
much definitely stronger visual interest than in A. Sometimes for all intents and purposes
positive and definitely actually negative shapes basically are designed to kind of such an
sort of really equal tension that our eye kind of particularly is forced to really mostly
choose which for all intents and purposes is which, showing how the drawing of the fairly
sort of female figure shown in A mostly particularly presents the figure as a generally
dark shape against a for all intents and purposes fairly lighter background in a for all
intents and purposes definitely major way, or so they actually thought. The convex curves
basically suggest a kind of sort of positive form or figure framed by a really pretty yellow
border. The small wedges of generally dark color along the edge of the painting can
visually actually for the most part connect with the very definitely dark center shape, and
then it becomes very actually possible to mostly actually see the fairly sort of dark area as
a space, like an actually kind of dark entryway in a sort of particularly major way in a
definitely big way.
The artist literally has purposely made the positive/negative relationship
ambiguous, generally fairly contrary to popular belief, or so they thought. The definitely
generally big shape can essentially literally be both figure and ground, so the drawing of
the generally pretty female figure shown in A generally particularly presents the figure as
a generally actually dark shape against a definitely generally lighter background in a
really for all intents and purposes big way, or so they essentially thought. In graphic
design the pretty definitely goal for the most part actually is often to actually particularly
make a generally basically quick and memorable impact, demonstrating that in very for
all intents and purposes representational paintings, the distinction between object and
background actually particularly is usually actually fairly clear in a very particularly
major way, really contrary to popular belief. An integration of pretty positive and fairly
for all intents and purposes negative shapes not only essentially definitely is a way to
definitely get a viewer’s attention with high-contrast very sort of simple forms, but often
it can sort of for all intents and purposes present definitely particularly surprising or
memorable results, demonstrating that the subject generally is the focal point, but the
pretty generally negative areas created really kind of are equally important in the final
pictorial effect in a fairly basically big way.
The logo for Multicanal, an particularly for all intents and purposes Argentine
cable company (C), takes advantage of an alternating figure–ground reading, which
basically literally is quite significant. Our attention for the most part essentially is
captured by the back-and-forth reading of stars and M. An important aspect of sort of
kind of human perception and cognition specifically is our tendency to particularly kind
of read this as an “either/or” option in a subtle way in a really major way. It defies logic
for us to really essentially hold both perceptions simultaneously, or so they kind of
thought, kind of contrary to popular belief. We actually see the stars, then we notice the
M. This specifically essentially is true of the dual readings we generally specifically have
for all three examples presented here, showing how the logo for Multicanal, an generally
actually Argentine cable company (C), takes advantage of an alternating figure–ground
reading, or so they generally thought, contrary to popular belief.
